Briefing Session on 2017 HKDSE Visual Arts Public Examination. Nov PDF Free Download

Briefing Session on 2017 HKDSE Visual Arts Public Examination Nov 2017

Programme Briefing on assessment requirements, marking criteria and general performance on Paper 1 Briefing on assessment requirements, marking criteria and general performance on Paper 2 Arrangements for Papers 1 and 2 in 2018 HKDSE Visual Arts Implementation of Medium-term review of the New Academic Structure Q & A 2

PAPER 1 VISUAL PRESENTATION OF A THEME 3

Briefing on assessment requirements, marking criteria and general performance of Candidates on Paper 1 Assessment requirements Part A (20 marks) With regard to the artwork provided, candidates are assessed on whether they can provide: 1. precise detail in description 2. a reasonable depth of analysis 3. an in-depth interpretation and evaluation from varied perspectives 4

The mark allocation of Part A 5

Part B (80 marks) Candidates are assessed on their ability to demonstrate the relationship between art criticism and appreciation, and their personal art work. Create a piece of two-dimensional artwork using any media, form, style and technique to present a theme in response to the critical appreciation in Part A in the white cartridge paper provided. Write an artwork statement of about 50 words to explain how your work is related to your art appreciation. This section carries 80 marks. 6

General Marking Criteria With reference to the application of the visual element, the articulation of art media, the technique, the visual effect and visual communication; evaluate the candidates ability to: 1. present the theme in a personal and creative way 2. select means of visual self-expression and determine the most appropriate method of communicating an idea, a thought, a feeling, a sentiment, etc. 3. demonstrate competence in dealing with visual elements 4. select and apply appropriate medium, techniques and processes in the execution and production of a painting. 7

The mark allocation of Part B 8

Note: Candidates are required to write an artwork statement which serves to elaborate on the relationship between art criticism and appreciation, and art making. This will be taken into consideration when assessing the practical work. The marking rubrics of Part A and Part B (see appendix) 9

Paper One, Question 1 (A) Describe, analyse and compare the forms and expressions of Plate (1a) and Plate (1b); interpret and evaluate these works. (20 marks) Plate (1a) David Musgrave. Dirty Leaf. 2004. Graphite on paper, 42.9 x 33.8 cm Plate (1b) Piet Mondrian. Gray Tree. 1911. Oil on canvas, 78.5 x 107.5 cm. 10

There are no model answers for questions requiring comparison and contrast, analysis, and interpretation. Responses were judged on the basis of viewpoints provided and communication of: 1. Literal Description Precise detail in description 11

Comparison David Musgrave s Dirty Leaf black, grey and white colours Commonalities plant as subject matter graphite drawing realistic detailed drawing of a leaf use fine strokes to depict in meticulous detail create a sense of reality and texture by using many Differences gradations of grey to depict the light and shades of the flagging leaf and the stem that looks like a cross without foreground and background painting abstract Piet Mondrian s The Gray Tree the composition is largely a tree trunk and its branches use of thick black lines and heavy brush strokes create a three-dimensional visual effect by using lines of varied thickness to depict the curved trunk and its stretching branches the foreground and background together is a grid pattern formed by coloured patches of varied tones massing the tree, thus enhancing its three-dimensional visual effect 12

2. Formal Analysis A reasonable depth of analysis on the aspects of idea and the theme characteristics of the two media different approaches of art-making 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 13

(B) Create a piece of two-dimensional work based on the theme Birds Singing in a Red-leaved Forest. (80 marks) 1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 14

General performance of candidates (Paper 1, Question 1) 18% of the candidates attempted this question. The performance was good in general. Most of the candidates used a realistic style to express their response to the theme. They used red leaves to convey the natural environment of forest. The interpretation of the theme was literal and direct. A few candidates provided elaborate scenery to deliver an abundant and appealing content with great significance. 15

Paper One, Question 2 (A) Describe, analyse and compare the forms and expressions of Plate (2a) and Plate (2b); interpret and evaluate these works. (20 marks) Plate (2a) Ben Tolman. Deutschland. 2014. Ink and gouache on paper, 33.2 x 25.4 cm. (Note: Deutschland is Germany in German) Plate (2b) Liza Lou. Kitchen. 1991-1995. Glass bead installation, 15.6 square meters. (Note: Tide is the brand name of a laundry detergent. Cap n Crunch is the brand name of a corn and oat breakfast cereal). 16

Comparison Commonalities Differences bright colour Ben Tolman s Deutschland Liza Lou s Kitchen use pattern to emphasize the visual effect ink and gouache drawing installation art use black, red and golden yellow as colourful, glittering and decorative the main colours real three-dimensional space create an illusion of threedimensional show a life-sized kitchen space in a flat picture the kitchen is transformed by gluing plate glass beads to the surfaces of real depict a architectural structure with objects great width and depth use of contrasting colours on the floor, the architectural structure is walls and furniture, and the use of composed of beams and posts complementary colours on the use golden yellow to show the top of cupboards and table cloth to feature the beam; use black to show one their substances, patterns and textures vertical side and use red to show the the creation of the work required other vertical side of the beams and innumerable, careful and lengthy posts processes the depiction of the tiny human figures provides a contrast with the architectural structure, giving a sense of extensiveness to the latter 18

(B) Create a piece of two-dimensional work based on the theme Three-dimensional Maze. (80 marks) 1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 20

General performance of candidates (Paper 1, Question 2) 7% of the candidates attempted this question. The performance was satisfactory in general. Most candidates made reference to Plate (2a) images which expressed the theme directly, resulting in flat and tedious works. Some candidates portrayed directly a scene of studying as the subject of a maze. Some candidates demonstrated imagination in transforming the images into a maze and thus expressed the theme in a lively and effective manner. 21

Paper One, Question 3 (A) Describe, analyse and compare the forms and expressions of Plate (3a) and Plate (3b); interpret and evaluate these works. (20 marks) Plate(3a) Edward Hopper. Automat. 1927. Oil on canvas, 71.4 x 91.4 cm. (Note: Automat is a type of self-service restaurant) Plate (3b) George Grosz. Metropolis. 1916-1917. Oil on canvas, 100 x 102 cm. 22

Comparison Edward Hopper s Automat Commonalities portray human life in urban area Differences Realism the artist portrayed urban life with real-life setting a lady seats in a restaurant, there is no signs of any other person the lady seats calmly in the restaurant with a light facial expression the exterior behind the window glass is in darkness, contrasting sharply with the interior which is brightly lit and full of colours in blue, red, green and yellow one-point perspective; reflect a sense of reality Expressionism George Grosz s Metropolis the artist portrayed urban life in an exaggerated manner using intense elements a herd of chaotic figures jostle in the urban streets the figures, with distorted faces, press against one another the main colour of the painting is red, an intense colour to create visual appeal the top and bottom edges of the buildings receding steeply into the vanishing point, creating a sense of spatial depth; multi-point perspective; show an urban space mingled with crowdedness and oppressiveness 24

(B) Create a piece of two-dimensional work based on the theme Person(s) Walking on the Street on a Cold Night. (80 marks) 1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 26

General performance of candidates (Paper 1, Question 3) 56% of the candidates attempted this question. The performance was good in general. Most candidates used a realistic style to present their response to the theme. Many depicted cold night as rain or snow in the theme. A small number of candidates used people wearing a scarf and gloves to express the feeling of coldness. Some left out the element of cold night and simply painted a scene without contextualization. The interpretation of the theme hence became flat and tedious. 27

Paper One, Question 4 (A) Describe, analyse and compare the forms and expressions of Plate (4a) and Plate (4b); interpret and evaluate these works. (20 marks) Plate (4a) Xu Beihong ( 徐悲鴻 ). Two Running Horses. 1944. Ink and colour on paper, size unknown Plate (4b) Franz Marc. Little Yellow Horses. 1916. Oil on canvas, 66 x 104.5 cm. 28

Comparison Xu Beihong s Two Running Horses Franz Marc s Little Yellow Horses Commonalities Differences horse as the subject matter shows the vitality of life Chinese painting use of lines to delineate the bone contours of the horses and the graceful, fast bearing at their gallop mainly monochromatic, one of the horses is depicted with slight colours of purple and green; use an intricate mixture of heavy and thin ink patches and lines, and emptiness to show the muscles and bones, hair and tails of the horses emphasize on the use of lines and different tones of ink without foreground and background oil painting use of curvy colours to depict the appearance of the horses and their relaxed manner of licking their bodies colourful and mainly in warm hues of white, blue, red, green and yellow emphasize on the use of colour; use different tones of yellow and a little green to depict the body and texture of the horses; use black and green to depict their hair and tails the three horses stand on the foreground against a landscape background 30

(B) Create a piece of two-dimensional work based on the theme Horse(s) Running Away from a Merry-go-round. (80 marks) 1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 32

General performance of candidates (Paper 1, Question 4) 4% of the candidates attempted this question. The performance was good in general. Most candidates made reference to Plate (4a) images which expressed the theme directly, resulting in flat and tedious works. Some candidates painted in a surrealistic style to express the theme. Candidates demonstrated a variety of expressions for color, composition and perspectives. Some candidates creatively constructed the run away sense and expressed the theme in a lively and effective manner. 33

Paper One, Question 5 (A) Describe, analyse and compare the forms and expressions of Plate (5a) and Plate (5b); interpret and evaluate these works. (20 marks) Plate (5a) Fiona Hall. Medicine Bundles for the Non-born Child. 1994. Aluminum, rubber and plastics, 28 x 44 x 10 cm (jacket), 8.5 x 9 x 5.2 cm (booties), 13 x 13 x 7 cm (bonnet), 31 x 9 cm (thickness unknown) (teething ring), 17 x 20 x 13 cm (six-pack of baby bottles). Plate (5b) Man Fung Yi ( 文鳳儀 ). Weaving Intimacy for Myself at 14. 2013. Brass, 97 x 42 x 9.5 cm. 34

Comparison Commonalities Differences Fiona Hall s Medicine Bundles for the non-born child clothes and accessories as subject matter emphasize on the fabric texture and form in human scale 3-D work in a set recycle materials like aluminum can, rubber and plastic wrapping for can use cut aluminum can strips to weave the cloth-like parts to assembled into the completed set of sculpture aluminum sliver, red, white and raw rubber colour laying on flat surface Man Fung Yi s Weaving Intimacy for Myself at 14 single piece bronze use wielding bronze wire to form a dress black and yellow bronze colour hanging with wires 36

(B) Create a piece of two-dimensional artwork based on the theme I Met Myself from the Past and from the Future at the Graduation Ceremony. (80 marks) 1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 38

General performance of candidates (Paper 1, Question 5) 9% of the candidates attempted this question. The performance was satisfactory in general. Most candidates depicted a happy sentiment in the theme. They used a realistic style to express their response to the theme. Some demonstrated a negative feeling in transforming the images into the interpretation of their further live. A small number of candidates used reflected images from a mirror or water to express the message of their future and the past. The interpretation of the theme appeared to be literal and unimaginative. 39

Overall performance in Paper 1 Most candidates were able to seek out a variety of relevant foci in literal description. They were able to provide interpretations of meaning towards forms of expression from different perspectives, with some providing multiple interpretations of meaning and recognition of embedded messages in the artwork of a particular context. Most candidates were able to connect different experiences and feelings with the visual forms, without knowing the relationship among forms. However, many candidates only responded to one or two criteria related to the value judgement of the artwork without judging the appropriateness of the presentation. 40

Overall performance in Paper 1 Most candidates demonstrated that they had mastered the materials, skills and visual elements appropriately in delivering the key messages of a given theme. Candidates work showed that the majority of them were able to refer the forms and ideas of the appreciation and criticism of artwork when presenting the theme. However, some candidates rushed into the theme without having fully understood the requirements of the question and produced superficial work. Candidates should read carefully the instructions of the question. Different levels of performance were evident in interpreting and presenting ideas in the five questions provided. 41

PAPER 2 DESIGN 42

Briefing on assessment requirements, marking criteria and general performance of Candidates on Paper 2 Assessment requirements Part A (20 marks) With regard to the artwork provided, candidates are assessed on whether they can provide: 1. Precise detail in description 2. A reasonable depth of analysis 3. An in-depth interpretation and evaluation from varied perspectives 43

The mark allocation of Part A 44

Part B (80 marks) Candidates are assessed on their ability to demonstrate the relationship between art criticism and appreciation, and their personal art work. Create a piece of design using any medium, form, style and technique to present a theme in response to the critical appreciation in Part A in the white cartridge paper provided. Write a design work statement of about 50 words to explain how your work is related to your art appreciation. This section carries 80 marks. 45

General marking guidelines: With reference to the application of the visual element, the articulation of art media, technique, visual effect, idea development and design principles, evaluate the candidates ability in the following areas: 1. Solving design problems The extent to which the candidate successfully proposes feasible solutions for a given problem, and is able to develop design concepts which convey the ideas of a theme. 2. Presenting ideas by using media, material and technique The extent to which the candidate is able successfully to apply the appropriate media, technique, and visual style to present the solution proposed. 3. Understanding and organization The extent to which the candidate is able successfully to apply appropriate visual elements such as colour, pattern, texture, shape, form; and design principles such as contrast, rhythm, balance and emphasis. 4. Communication The extent to which the candidate is able convincingly to convey a theme. 5. Meeting design requirements The extent to which the candidate is able successfully to create a design that meets specific size, measurement and other requirements of the question; 6. Demonstrating originality The extent to which the candidate is able to successfully convey design ideas which are original and creative. 47

The mark allocation of Part B 48

Paper Two, Question 1 (A) Describe, analyse and compare Plate (1a) and Plate (1b) with respect to the design concepts, structures, visual effects and communication effects of the two designs; interpret and evaluate these works. (20 marks) Plate (1a) Aaron Watkins. 16 lb Bowling Ball Packaging. 2009. Corrugated Paper. Plate (1b) Esther Chang. Caterpillar Working Boots Packaging. Corrugated Paper. 50

Comparison Commonalities Differences Aaron Watkins s 16lb Bowling Ball Packaging commercial packaging design corrugated paper Structure: folding design with hand-carry function Colour: corrugated paper raw colour Meaning: simple design highlights the feature of its load-bearing weight and the appearance of the product Esther Chang s Caterpillar Working Boots Packaging Structure: single paper wrapping design Colour: corrugated paper raw colour with few printed information of the product Meaning: minimal design with low cost. Only the bottom of the boots was shown to emphasize the characteristics of the boots. 52

2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape and symbols, and composition of the designs The relation between graphic and color selection and the designs nature and image 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 53

(B) Design a packaging for a light bulb manufacturing company named Bright ( 明亮 )for the energy saving LED (Light-emitting diode) light bulb shown in Plate (1c.1). The packaging should be designed in such a way that the bulb can be tested on the light bulb testing stand shown in Plate (1c.2) without unfolding the packaging. The design should include the following texts (in Chinese, English or both Chinese and English): Bright ( 明亮 ) 3 Watt (3 瓦 ) Cool White ( 冷白光 ) The design should have TWO 3-dimensional renderings with an indication of the measurements and materials used. The placement of the packaging on the light testing stand, Plate (1c.2), should be shown in one of these 3-dimensional renderings. ( 80 marks) Plate (1c.1) LED Light Bulb 50mm (diameter) x 95mm (height) Plate (1c.2) Light Bulb Testing Stand 54

1. Selection and Use of Materials & Techniques 2. Selection and Use of Visual Elements and Principles of Design 3. Relationship between Practical Work and Appreciation & Criticism of the Artwork 4. Creativity & Imagination 5. Communication of the Theme 55

General performance of candidates (Paper 2, Question 1) 11% of the candidates attempted this question. The performance was good in general. Most candidates used a cubic box as the foundation of the packaging. Some candidates demonstrated maturity in concept and artfulness in their design with the 3-dimensional presentation of the package design. The best scripts showed good illustration skills.. 56

Paper Two, Question 2 (A) Describe, analyse and compare Plate (2a) and Plate (2b) with respect to the design concepts, silhouettes, visual effects and communication effects of the two fashion outfits; interpret and evaluate these works. (20 marks) Plate (2a) Tang Tat Chi ( 鄧達智 ). King of Kowloon fashion design series. 1997.. Plate (2b) Yves Saint Laurent. Mondrian Dress. 1965. 57

Comparison Commonalities Tang Tat Chi s King of Kowloon Series inspiration by the work of other artist woman dress Yves Saint Laurent s Mondrian Dress Differences Image: Chinese calligraphy Material: gauze Silhouette: short flared dress with big ruffles, gloves, bag and leggings Colour: black and white Concept: use the calligraphy graffiti of Tsang Tsou Choi, as the fabric pattern Image: geometrical coloured shapes Material: cloth Silhouette: sleeveless round collar dress Colour: red, blue, yellow and white with black lines Concept: use the grid pattern created by Dutch artist Piet Mondrian as the fabric pattern 59

2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape and symbols, and composition of the designs The relation between graphic and colour selection and organization s nature and image 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 60

(B) Design a set of staff uniforms suitable for both men and women for a beach concert based on the theme Save Polar Bears The design should include: A T-shirt, a pair of shorts, a pair of sandals and a hat EACH design item should have TWO 3-dimensional renderings with an indication of the measurements and materials used. (80 marks) 61

General performance of candidates (Paper 2, Question 2) 7% of the candidates attempted this question. The performance was very good in general. Most candidates showed their understanding of the requirement in the design. Some candidates demonstrated good illustration skills in presenting the design in a lively and effective manner. A number of candidates did not focus on the theme of the design and instead designed the fashion outfit without relating it to its purpose. 63

Paper Two, Question 3 (A) Describe, analyse and compare Plate (3a) and Plate (3b) with respect to the design concepts, visual effects and communication effects of the two designs; interpret and evaluate these works. (20 marks) Plate (3a) Paula Bunny. pams Confectionery Range Packaging Series. 2015.. Plate (3b) Fukumitsuya ( 福光屋 ). Japanese Condiment Packaging Series. 64

Comparison Paula Bunny pams Confectionery Range Packaging Series Fukumitsuya Japanese Condiment Packaging Series Commonalities packaging of a line of food products Differences Image: cartoon characters and typography Material: plastic Structure: bag, party transparent so that the food inside can be seen Colour: vividly colourful Sale target: children Meaning: use cartoon characters who are closing their eyes while enjoying the food to attract children s attention Image: pattern and typography Material: cloth and bottle Structure: bottle is draped with a cloth, and a string with a label is tied around Colour: Green, white, red and black Sale target: adult Meaning: the colour of the label and typography on the bottle is the same as the food inside the it 66

2. Formal Analysis A reasonable depth of analysis on the aspects of The usage of colour, shape, materials and structure of the designs The relation between materials and structure selection and product s nature 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 67

(B) Design the FRONT VIEWS of the packaging (Plate 3c) for a series of THREE instant noodles targeting local young people for a Hong Kong food company named Hong Kong Flavour ( 香港風味 ). The three flavours of the instant noodles are: Curry Fish Ball ( 咖喱魚蛋 ) Shrimp Dumplings ( 鮮蝦雲吞 ) Beef Brisket Broth ( 清湯牛腩 ) EACH design should include: The names of the company and instant noodles flavours (in Chinese, English or both Chinese and English) The measurements of each design should be 12 cm (H) x 20 cm (W) (in HORIZONTAL ORIENTATION) (80 marks) Plate (3c) The front view of the instant noodles packaging 68

General performance of candidates (Paper 2, Question 3) 41% of the candidates attempted this question. The performance was good in general. Some candidates demonstrated maturity in concept and artful execution of their designs. However, some used a profusion of colours and cartoons to convey the front view of the packaging. Some of the designs were thronged of images, resulting in the conveying of a food carnival rather than instant noodles. 70

Paper Two, Question 4 (A) Describe, analyse and compare Plate (4a) and Plate (4b) with respect to the design concepts, visual effects and communication effects of the two designs; interpret and evaluate these works. (20 marks) Plate (4a) Pawel Krol. Poster for TRANSATLANTYK FESTIVAL. 2015. 69 x 100 cm. Plate (4b) Christine Schmidt. Print Workshop Book Cover. 23 x19 cm. 71

Comparison Pawel Krol s Poster for TRANSATLANTYK FESTIVAL Christine Schmidt s Print Workshop Book Cover Commonalities Differences black, grey and white as main colours bright colours are used to increase their visual effect a pair of hands was shown printed matter Image: mainly imagery of real objects, inclusive of a pair of hands, two legs, antiquated musical instruments, props and film making equipment, four chimneys passing out smoke of yellow, red, purple, blue and green colours Typography: block letters without serifs Function: poster design Meaning: use musical instruments, and film making equipment to show the theme of the festival Image: hand drawn illustrations and typography, a pair of hands, landscape of hills, woods, birds and sun Typography: hand writing Function: book cover design Meaning: using the pair of carving hands to highlight the content of the book 73

(B) Design a COVER for a magazine Men s Handicraft ( 手作男 ) which targets male readers The design should include the following texts (in Chinese, English or both Chinese and English): Men s Handicraft ( 手作男 ) First Edition ( 創刊號 ) Hand Tools Comparison ( 手工具大比拼 ) May 2017 (2017 年 5 月 ) HK$20 The measurements of the design should be 29 cm (H) x 21 cm (W) (in VERTICAL ORIENTATION) (80 marks) 75

General performance of candidates (Paper 2, Question 4) 35% of the candidates attempted this question. The performance was good in general. Some candidates demonstrated maturity in concept and artfulness in their designs in dealing with the magazine cover design with the image of craftsman. The best scripts conveyed a sense of humour and showed good illustration skills. However, some candidates made reference to Plates (4a) and (4b) composition directly, resulting in a superficial design. 77

Paper Two, Question 5 (A) Describe, analyse and compare Plate (5a) and Plate (5b) with respect to the design concepts, structures, visual effects and communication effects of the two designs; interpret and evaluate these works. (20 marks) Plate (5a) Elisabeth Henriksson. U Form Lamp. 2008. Acrylic, Variable dimensions Plate (5b) Flexa. Pim Pom. 2007. Plastics. 78

Comparison Elisabeth Henriksson s U Form Lamp Flexa s Pim Pom Commonalities Differences can be transformed into different form consumer can involve in the design Structure: lamp made up of U- shape parts Materials: acrylic acid resin Colour: white Form: can be composed into different forms according to user s own design Function: lighting and decoration Structure: combination of a ball, legs and desk furniture Materials: plastic Colour: combination of different clour scheme: red, pink, blue and green Form: can be placed into different forms according to user s need Function: different functions including desk and stool, chair, and interesting toy for children 80

2. Formal Analysis A reasonable depth of analysis on the aspects of The inter-relationships among the various visual characteristics Differences in function The relation between materials and structure selection and product s nature Relation between the product and user 3. Interpretation of Meaning An in-depth interpretation from varied perspectives 4. Value Judgment An in-depth evaluation from varied perspectives 81

(B) Design a 5-person desk and chair combination for the library of the School of Architecture at a university. The design should include illumination and charging devices for individual users. The design should consider individual users personal privacy without affecting the library s need to monitor. The design should have TWO 3-dimensional renderings with an indication of the measurements and materials used. The sitting posture of the users should be shown in one of the renderings. (80 marks) 82

General performance of candidates (Paper 2, Question 5) 6% of the candidates attempted this question. The performance was very good in general. Most candidates showed their understanding of the allocation of the combination in the design. Some candidates demonstrated good illustration skills in presenting the design effectively. However, a number of candidates did not focus on the requirement of the design, resulting in flat and tedious works. 84

Overall performance in Paper 2 Most candidates were familiar with the written presentation on critical appreciation of design work and expressed their viewpoints. They were able to seek out a variety of relevant foci in literal description. Some candidates were able to connect different experiences and feelings with the visual forms, providing multiple interpretations of meaning towards the form of presentation. Some responded to multiple criteria related to the value judgment of the designated artwork to judge the appropriateness of the design. 85

Overall performance in Paper 2 Most candidates were able to master the materials and skills appropriately in delivering the key messages of the theme. They were able to express the key messages of the design by visual elements and principles of design. Most candidates demonstrated personality characteristics with originality and by means of transference or association. Some designs displayed the hidden meaning of the given theme and reflected a high quality of understanding of the design. 86

Overall performance in Paper 2 In general, candidates used relevant and coordinated forms of artistic creation in different ideas, especially in fashion and 3-D designs. However, some answered the questions without having fully understood the requirements and produced superficial work. It is recommended that candidates read the instructions of the question carefully. 87

Arrangements for Papers 1 and 2 in 2018 HKDSE Visual Arts Implementation of Medium-term review of the New Academic Structure

New Cartridge Paper for Part B No artwork statement is required The size of the cartridge paper provided in the exam will be changed to A2 A2 (420 mm x 594 mm) 89

Instructions for Part B On the white cartridge paper provided, create a piece of two-dimensional artwork using any medium, form, style and technique to present a theme/design. Creative/Design brief (if any) such as notes, sketches and layouts that you produce for the examination should be drawn on the white pond paper provided. The white bond paper may be submitted along with the finished work if candidates consider it essential to explain his/her artwork/design work. This section carries 80 marks (no change). 90

Mark Allocation of 4 Marking Criteria for Part B (Effective from 2018 HKDSE) High Middle Low Not Shown 17-20 13-16 9-12 5-8 1-4 0 Selection and Use of Materials & Technique Able to select and master the materials and the skills accurately and effectively in implementing the key message of the theme Able to master the materials and the skills appropriately and effectively in outstanding the key message of the theme Able to master the materials and the skills appropriately in delivering the key message of the theme Able to use the materials and the skills relevant to the theme Unable to use the materials and the skills to cope with the theme Selection and Use of Visual Elements and Principles of Design Able to select and master multiple visual elements and principles of design, accurately and effectively in implementing the key message of the theme Able to master multiple visual elements and principles of design appropriately and effectively in outstanding the key message of the theme Able to master the visual elements and principles of design appropriately in delivering the key message of the theme Able to use the visual elements and principles of design relevant to the theme Unable to use the visual elements and principles of design to cope with the theme Creativity & Imagination Able to demonstrate personality characteristics through originality and unique imagination Able to demonstrate personality characteristics through originality and rich imagination Able to demonstrate personality characteristics through originality and by means of transference or association Able to demonstrate personality characteristics or originality Unable to show personality characteristics or originality Communication of Theme Able to integrate relevant forms of artistic creation in different emotions or idea Able to use multiple, relevant and coordinate forms of artistic creation in different emotions or idea Able to use relevant and coordinate forms of artistic creation in different emotions or idea Only use irrelevant forms of artistic creation in different emotions or idea Unable to use any relevant forms of artistic creation in different emotions or idea 91

Changes in Mark Range in Part B No change in the requirements of the four marking criteria Revised mark range for each criterion (from 3 to 4 marks each) The total marks for Part B (Visual Arts Making/ Design ) remains unchanged as being 80 marks i.e., 4 criteria X 20 marks = 80 marks 92

2018 HKDSE Visual Arts Professional Development Programme Date Event Place 20 April 2018 TO 19 May 2018 Exhibition of Artworks and Scripts of HKDSE in Visual Arts 2017 Young Achievers Gallery, EDB Kowloon Tong Education Services Centre, 19, Suffolk Road, Kowloon 93

Q & A 94

Thank You 95

Briefing Session on 2017 HKDSE Visual Arts Public Examination. Nov 2017